“Citizen journalist” Jeannie E. Roberts conducted interviews for Motionpoems with both the poet and the filmmaker—check them out. Brown says, in part:

“Undersong” is both an elegy and an ode to the poet Jake Adam York, who died at the age of 40 in December 2012. Jake was a poet of extraordinary depth, courage, wisdom, and empathy. His life’s work, a project entitled “Inscriptions for Air,” was an excavation of race and involved writing an elegy for every single man, woman, and child who were martyred in the Civil Rights Movement. He was a white man from Alabama who confronted the challenges and implications and devastation of racism head on, and the literary world is so much richer for his work—and so much more bereft for the work that will not follow.

Poetry is, in many ways, the only language I have at my disposal to say certain things, and this poem is an example of that. As a poet from the South, I wanted to pay homage to the visual landscape that connected us, to evoke the places we’re both from in an effort to encapsulate origin while memorializing just how far from there we journeyed in our thoughts and actions and words.

And Smithson’s description of his process is extremely impressive:

The process of creating the Motionpoem for “Undersong” was two-fold. Once I had decided on a direction and concept, I spent quite a bit of time researching specific locations that I felt best captured the visual quality described in the poem. Traveling through the South, through rural Virginia, North and South Carolina, West Virginia, and Kentucky, I filmed a variety of places, people, and details that I planned to use in the creation of this Motionpoem. Not every piece of footage was used, but this process helped further connect me to many of the places Stacey Lynn Brown describes, places echoing with a storied past.

The process I used to create the visual style of this Motionpoem involved the labor intensive process of tracing each image by hand to give the piece a handmade quality. Using the filmed footage as a starting point for most of the scenes, I merged the reality with my stylized interpretation, taking creative liberty in the development of each moment.